Bloodyminded Within the Walls (2013) MP3/Flac
Title Of Album: Within the Walls
Year Of Release: 2013
Genre: Alternative Rock
Bitrate: 320 kbps
Total Time: 47:00
Total Size: 111 MB
01. All The Cities Are Occupied (9:06)
02. Within The Walls (2:16)
03. Night Strikes (5:13)
04. Token 3 (0:58)
05. Disintegration (6:26)
06. Token 4 (0:34)
07. Fatal Breath (6:27)
08. Token 5 (1:18)
09. Circular Relations (3:36)
10. Token 6 (1:06)
11. Token 7 (0:08)
12. Outside The Gate (3:03)
13. Inverted Ruins (6:49)
For more than 40 minutes, the raw noise collective Bloodyminded plows through a series of harrowing drones, feedback bursts, mutated screams, static blitzes, and circuit collapses. There are imprecations hurled in both English and Spanish and floods of sound so caustic and strong they rattle both brain and core. But the real shock of Within the Walls, the groups first LP in seven years, comes at the start of the final track. Through a layer of squall and around the calm narration of Bloodyminded leader Mark Solotroff, a gently eerie keyboard line arrives like a glowing ghost. Its only a few lurid notes, set to repeat and distend slowly into a blur. Its also one of the most reserved and beautiful sounds in Bloodymindeds two decades as a groupa sudden, surprising melody surrounded on all sides by madness. Played by heavy metal producer Sanford Parker, the little synthesizer theme eventually gives into Bloodymindeds power electronics din, battling the squall in both volume and insistence. But make no mistake: It's a successful attempt from long-running noise veterans to use a new trick. It works.
The coda is actually a cover of Inverted Ruins, a Locrian number under which Solotroff hissed the same words on that groups great 2010 album, Territories. The Bloodyminded reworking is faithful enough, using the same slow crawl toward chaos but promoting his vocals to the position of overlord. The choice to include the cover is an apt one; in the past few years, harsh electronic music has wormed its way closer toward indie rocks core, thanks to the likes of Prurient, Pharmakon, Wolf Eyes, and, in some capacity, Locrian, too. Inverted Ruins, then, makes the precursor position of Solotroff and Bloodyminded clear. They are pioneers to a scene that has sprawled. Indirectly, it also reinforces the groups fiercely prolific nature, no matter how slow the groups proper output or live appearances have become. Member Pieter Schoolwerth helms Wierd Records, for instance, while Solotroff and his fellow vocalist Isidro Reyes have pumped out more than a dozen volumes in less than seven years under the name Fortieth Day. Bloodyminded itself has slowed, but its members have necessarily not.
Whats more, the time between Within the Walls and 2006s Magnetism has only seemed to condense the bands strengths, as these 13 songs consolidate whats often been best and most intriguing about Bloodymindeds output. For instance, Gift Givers, from 2005, pitted Solotroffs clipped English phrases against the French lyrics of Xavier Laradji. Within the Walls instead works with Solotroffs words and the Spanish lyrics of Reyes, who often hurls them out beneath the dominant tongue. Two scripts in two different languages might sound disorienting, but this multilingual approach actually makes Within the Walls a truly multivalent listen, the sort of thing youll want to hear again and again in order to tease out the nuances of what theyve made. How do Solotroff and Reyes interconnected lyrics relate, and how do they work against the shifts around them During Fatal Breath, for instance, Solotroff seethes about the inevitability of destruction, about systems that fall apart simply by existing; meanwhile, Reyes lurks beneath him and then occasionally jumps in front, retrenching the invective with his own views on corruption, oblivion, and unavoidable anguish. The sound is a nightmare. They complement and contradict one another throughout the record, constantly reinforcing the musics tumult.
Within the Walls alternates between long, ponderous poems shouted into or against the noise vortex and five ruthless bursts of pugilistic feedback and static lasting between nine and 68 seconds each. Bloodyminded has often used this see-saw technique in the past, onstage and offstage, but here its more deliberate and careful, meant to break up the verbose musings as much as it to show the groups sonic willpower. More than anything, however, the ebb and flow appropriately spotlights the depth of Bloodyminded, a group whose very power and antagonistic nature could make their records monolithic and paradoxically sedate. But once again, theyve found new ways to shock and enthrall, even if that requires a vivid recollection and recombination of the past.
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